Bill Berkson's recent books include Fugue State, a collection of his criticism entitled The Sweet Singer of Modernism & Other Art Writings, Gloria (with etchings by Alex Katz), and forthcoming from Tuumba Press, a collaborative work with Bernadette Mayer, What's Your Idea of a Good Time?: Interviews & Letters 1977-1985. He lives in San Francisco, where he teaches at the San Francisco Art Institute. A markedly different version of "On Certain Pictures by Diane Andrews Hall" will appear in the catalogue of Hall's winter 2006 exhibition of paintings at the James Graham Gallery in New York.

Eileen Myles is finishing up a novel about the hell of being a female poet. A work that covers life in two centuries. It's called the Inferno and it'll hopefully be out in early 07. She's also author of Cool for You and Chelsea Girls (both fiction) and many volumes of poetry including Skies, on my way, Not Me and School of Fish. Hell an opera for which she wrote the libretto will premiere in New York in April at PS 122. Since 2002 she's been dividing her time between New York and San Diego where she is currently enjoying teaching writing and lit at UCSD.  Notes: People tell me my poems are "different" now and I wonder if being in at least two places a lot (New York and San Diego) and the lessening of "face" in my life is the reason for it—when I'm "home" I see fewer people. In California we're always in cars. In New York I feel shocked by the degree to which everyone is in everyone else's life—as an activity. I mean you hear the man next door spitting but also everything you do socially is such a fact. You're building yourself cumulatively all the time. In California I find "information" is creeping into my poems continually, cause that's the environment and maybe I think about people more than I know them. I mean I know the people I don't know as much as the people I do. It's really a distant culture so of course I'm interested in "distance" and will be soon ordering a book on the web about it. And yet I don't want to go home if that's New York. So I'm writing in a new problem it seems.

Catherine Daly is author of DaDaDa, a trilogy in one volume which is the first of four projected volumes of the 1,000 page project CONFITEOR, and Locket, a shiny golden book of love poems.  She also wrote the forthcoming books Secret Kitty, a flarf critique of flarf and flarf translation, and Paper Craft, some of which poems are objects made of poetry.  She is hard at work on Chanteuse / Cantatrice, a book between the French resistance, cabarets, and contemporary politics of collaboration, for the factoryschool Heretical Texts series, and To Delite and Instruct, a superlong book constructed from school workbook mimeos, among other things. She lives in Los Angeles, not Malibu, with her husband Ron Burch, who does not like coconut.  They do have a palm tree in their yard.  She likes coconut, despite having drunk way too much Malibu in the mid-1980s, because it tastes like licking skin with Hawaiian suntan lotion on it.

Denise Duhamel's prose poems exist not only in this page version, but are printed on vellum and set in frames. The size of her canvases determined the length of the poems, all of which are identical when set in 14 point American Typewriter font.  Her most recent poetry titles are Two and Two (University of Pittsburgh Press, 2005), Mille et un Sentiments (Firewheel, 2005), and Queen for a Day: Selected and New Poems (Pittsburgh, 2001).  She teaches poetry at Florida International University in Miami. 

Brian Henry's fourth book, Quarantine, is forthcoming from Ahsahta in March 2006. His poems have appeared recently in The Canary, Volt, The Kenyon Review, and Denver Quarterly. He lives in Richmond, Virginia, where he teaches at the University of Richmond. "Flare Gun" and "Clipped Vista Astride the Horizon Line" are perhaps arguments for getting outside more often -"Boyish Figure," the opposite.

Wanda Phipps is a writer living in Brooklyn, NY, and the author of Wake-Up Calls: 66 Morning Poems (Soft Skull Press), Your Last Illusion or Break Up Sonnets (Situations), Lunch Poems (Boog Literature), the e-chapbook After the Mishap and the CD-Rom Zither Mood (Faux Press). Her poetry has appeared in over 60 publications, including the anthologies Verses that Hurt: Pleasure and Pain From the Poemfone Poets (St. Martin's Press) and The Boog Reader (Boog LIt). She’s also curated several reading and performance series at the Poetry Project at St. Mark's Church as well as other venues and written about the arts for Time Out New York, Paper Magazine, and A statement about the piece: A journal of emotional sensation is a post-modern pillow book, a very free, uncensored, multi-faceted, layering of fragments focused on documenting the fluctuation of emotions in the form of a year-long journal. Although interiority is highlighted, everything else comes pouring in as well: sights, sensations, memories, dreams, fantasies. So descriptions of raw emotions work as a kind of skeletal framework the piece constantly returns to for anchoring.

Aaron Tieger's poems have recently appeared in the tiny, The Hat, The Canary, Fulcrum and Drill. His chapbooks include Sea Shanties of Old Vermont (Ugly Duckling Presse, 2003), Merge Point (Anchorite Press, 2004), Days and Days (Pressed Wafer, 2004), and, most recently, Coltsfoot Insularity (with Jess Mynes, Fewer & Further Press, 2005). He lives in Ithaca, NY, where he edits CARVE Poems ( and co-curates the SOON Productions reading series ( These poems are from an ongoing manuscript of uncertain length currently titled Anxiety Chant.

Anita Naegeli's poetry and visual art have been published or are forthcoming in Word For/Word, Good Foot, milk magazine, and The Bedside Guide to No Tell Motel. As a performer, she has appeared in various theatrical and musical productions. Anita lives in New York City, where she works for the Poetry Society of America as the Poetry in Motion® Director. About her work she notes, “My poems often depict characters and their relationships with others and their surroundings. As opposed to a full-length narration, the pieces are condensed. Like little dots in a landscape, they capture moments in time, allowing the reader to gain a brief, but intimate glimpse of the interactions and self-reflections of the characters.”

K. Silem Mohammad is the author of hovercraft (Kenning Editions, 2000), Deer Head Nation (Tougher Disguises, 2003), A Thousand Devils (Combo Books, 2004), and Breathalyzer (Edge Books, forthcoming).  He lives and teaches in Ashland, Oregon. Poem notes: Percy Lincoln is a nonsense syllable invented by the poet. “California Man” is an old Sweet song that Cheap Trick covered.  Jesus Christ was probably an actual person who lived around two thousand years ago somewhere in the middle east. Abdullah Ahmad Badawi is the current prime minister of Malaysia, though I didn’t know that when I wrote “Meet Squishy Money” (if I hadn’t written it, I probably still wouldn’t know it).

randy prunty hangs out with the atlanta poets group. The poem "delusiveness bisque" is from his chapbook delusiveness which was recently published by 3rdness. "the last fish" is just a poem with fish in it because poetry lies but poems don't. It's part of a chapbook—probably titled 'fish'—that is scheduled for publication by lavender ink.

Jennifer L. Knox’s first book of poems, A Gringo Like Me, is out on Soft Skull Press. Her work is forthcoming in Best American Poetry 2006, and has appeared in the 2003 and 1997 editions, as well as the anthologies Great American Prose Poems: from Poe to Present, and Free Radicals: American Poets Before Their First Books.

Daniel Borzutzky's Arbitrary Tales was published in 2005 by Triple Press.  His translations of Chilean poet Jaime Luis Huenun appear in Circumference and Fascicle.  Daniel's work has been published in many journals; recent work appears in Antennae, Chicago Review, Blaze Vox, Fence, Shampoo, Kulture Vulture, Pom², MiPoesias, Spoon River Poetry Review and in other online and print journals.  "Correction" takes its name from Thomas Bernhard's great novel entitled Correction, though it is more directly influenced by Bernhard's novella Walking.  Near the end of Walking, Karrer, a typical Bernhardian madman, suffers a breakdown in an Austrian trouser shop:  "But he Karrer, could not refrain from remarking that we were dealing here with trouser materials, quite apart from the workmanship, with rejects and, as one could clearly see, with Czechoslovakian rejects, he simply had to repeat that in the case of these trouser materials we are dealing with Czechoslovakian rejects.  Karrer suddenly raised his walking stick again...and banged several times loudly on the counter with his stick and said emphatically:  you must admit that in the case of these trouser materials we are dealing with Czechoslovakian rejects!  You must admit that!  You must admit that!"

Sandra Simonds is a Phd student in Creative Writing at Florida State University. Her poems are forthcoming in Volt and the Seneca Review. You can email her at Notes on these Poems: "Your dress" is about illness and travel; it was written when I had really bad bronchitis and I was drinking a lot of that delicious prescription cough syrup thanks to Dr. Graham. oh and this too:equation


"Quarantine" centers itself around the myth of Ixion. I met Sam Truitt a few years ago and my friend and I drove him to the airport. If I remember he said that he was writing a poem about this myth. While he was telling us about it, a blimp went by with a banner that read "health coverage for all." I started to think about this myth and why Ixion betrays Zeus. Somehow this myth connected to a story I read about the Peruvians villagers of Yanacocha who were exploited by an American-run gold mine. The mine had a truck that spilled a mercury by-product from the mine in the town. Some of the villagers cooked mercury in their stoves because they thought it would turn into gold. And about "Prose Poem," the phantom limb phenomenon: "When a limb is gone, the neural map remains—and shortened nerves in the stump continue to send their messages."

Brandon Shimoda was born in California and educated in Belgium, Connecticut, and New York. His poems and visualizations of lakes have appeared in 42opus, The Styles, New Orleans Review, Eucalyptus, and elsewhere, as well as in galleries in New York and Vermont. He is one-half of The Pines (, helps to edit CutBank and Octopus magazines, and currently lives in Missoula, Montana. About the poems, he says, "It wasn't until I realized the extent of space in the woods behind my house that things really started to change. I called my friends to meet me there, and we met, and the rocks came upward, forwarding themselves. Much of the writing since has been in response to that space—and, in particular, the lakes."

Heidi Lynn Staples was a recepient of the New Issues Poetry Prize for Guess Can Gallop, her debut collection of poems. Her second collection, Dog Girl, has been selected by Carolyn Forché for publication by Ahsahta press. Staples was born in Dade county, Florida, and holds degrees from the University of Georgia, where she studied psychology, and Syracuse University, where she studied poetry. Her work has appeared in numerous literary journals and anthologies, including Best American Poetry 2004,  Denver Quarterly, LIT, and 3rd bed. Coeditor of the literary annual Parakeet, she lives in Syracuse, New York with her husband, two dogs, cat and bird.  About the poems, she writes, “6, 7, & 8 come from a series in my recently completed manuscript, The Gulf Streams.  I composed these poems improvisationally, using an open Florida field guide, a Florida travel guide, and a wave of memories of growing up on the Florida Gulf Coast. These three poems recall my first love and our wild times outside, under the stars, atop the sand, inside each other. Ahem. A hymn.  ‘Because of You’ is a love poem from my forthcoming book, Dog Girl. As I see her, Dog Girl is one of my more feral selves (originating from an idea of a polyvocal self in the tradition of Berryman's Mr. Bones) that rises up and, more often than not, shouts in garbled irritation when she doesn't get her way. She's speaking in the poem, beast as she canine.”

Mark Lamoureux lives and writes in Astoria, New York. His work has appeared or is forthcoming in print in Fence, Denver Quarterly, Circumference, Jubilat and others and online at such places as GutCult,, and Dusie. He is the author of 3 chapbooks: Film Poems (Katalanché Press), 29 Cheeseburgers (Pressed Wafer) and City/Temple (Ugly Duckling Presse). About the poems, he writes, 'Mountainaxiom' was written atop Mount Royal in Canada. 'Harbor' was written in Boston, Massachusetts. 'Epilogue' was written from the bottom of the ocean."

Dana Ward lives in Cincinnati Oh, where he edits Cy Press. Recent poems are out or are forthcoming in The Hat, The Tiny, Your Black Eye & Wherever We Put Our Hats. About the poems, he writes, "'The Glass of Outer Weariness' borrows its title from a line in Yeat's 'Two Trees.' I've always loved that line's evocation of an exhausted surface & wanted a poem that embodied such a notion, of a failing exterior, & a wish for another more true. 'A Mandelstam Alphabet' was written originally for a friend who years ago had turned me onto Mandelstam, & who I wanted to make something for, in gratitude, for pointing me in Ossip's Emilevich's direction. 'Advanced Guard' is primarily a parody, self & otherwise, of a verbal tick I'd noticed myself & others using. '2004 comes before 2005 in a lot of ways.' I wanted to see how far I could stretch 'in a lot of ways' & 'in some ways' out as a prosodic axis &  look at the manner in which it effected a variety of statements & assertions.  'The Bad Days Will End' was inspired by the compacted complexity of Ted Berrigan's shorter works. In this case, I'd hoped to chart the woeful parabola of hope & disillusionment experienced around the time of the 2004 election, moving from confidence & solidarity, to the horizon of revolt & celebration, to futility & meaningless violence."

Donna Kuhn is the author of typical girl (Fine Tooth Press, 2005), Not Having an Idea (Moria, 2005) and Beautifully Thin Oneonta Moon (Little Poem Press, 2005) with poet/artist Michael Ladanyi. For more information please visit her blog at  These poems resulted from playing with dictionaries and machines.

Erin Martin is an MFA student at the University of Alabama and has had publications in canwehaveourballback, Tattoo Highway, Aura, the Furnace Review, and pending in Unpleasant Event Schedule and Wild Strawberries. About "Metamorphosis": After a day full of Sylvia Plath and teen witch books, the supermarket in one's home town is a dangerous place.  "Ante" is an ante both in the sense of a poker game with increasingly heightened risks, and in the sense of "before" an unnamed disaster.

Sheila E. Murphy's most recent book publication is Incessant Seeds from Pavement Saw Press (2005). She resides in Phoenix, Arizona, and creates visual poetry in addition to her textual work. Forthcoming in 2006 is Continuations, a book-length collaboration with poet Douglas Barbour (University of Alberta Press).

Marina Wilson is from northern California. Her poems have been published in The Berkeley Fiction Review, Crowd Magazine, La Petite Zine, MiPoesias, and Apartment Therapy, an interior design website. She received an MFA from New School University in 2002 and currently lives in Brooklyn. Both "A Man" and "The Girls" address the complicated, at times fraught, relationship between that which is masculine and feminine. "The Girls" is a part of a collection of poems loosely connected to the Russian River in California.

Katy Lederer is the author of the poetry collection Winter Sex (Verse Press, 2002) and the memoir Poker Face: A Girlhood Among Gamblers (Crown, 2003). She currently lives in Manhattan, where she works for a quantitative trading firm.

Clay Matthews' work is published (or will be) in Black Warrior Review, the tiny, H_NGM_N, Forklift, Ohio, and Best New Poets 2005. His chapbook, Muffler, is forthcoming from H_NGM_N B__KS. He currently serves as associate editor for the Cimarron Review while attending graduate school at Oklahoma State. Regarding the poems, he writes: "'Regarding My Sentimentality…' is about the soft place in my heart for gothic roadside joints and closure. 'Digits,' I think, results from the inability to write 'ear necklace' on a calculator, upside down or not."


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